By way of background to further understand the invention described hereinafter, the following definitions are provided.
Bronze: As defined here shall comprise any metal in which copper is alloyed with other elements to alter its properties. Such alloys include but are not limited to: phosphor/tin bronzes, high tin bronzes known as “bell” bronze, nickel bronze, nickel silver (a copper-nickel-zinc alloy), aluminum bronze, titanium bronze, beryllium copper, brass (brass is sometimes referred to as a bronze, but it shall included in the bronze class here).
Node: A point or area in a vibrating material or musical instrument where less vibration or very little vibration occurs.
Overtones: Overtones can be heard as simpler or individual tones or frequencies/vibrations which, when combined, make up the whole of a musical sound. The sum of simple sounds such as sine waves, rising and falling in amplitude and frequency can produce a complex sound. In percussion instruments, there is a complex matrix of overtones comprising the whole.
Swell: A term in music and in describing cymbal and percussion sound, whereby after the instrument is struck, sound grows over time from low to high amplitude. In cymbals (especially those known as crash cymbals), gongs and hybrid instruments, a rise in the frequency and complexity or number of overtones accompanies the rise in amplitude. Instruments with a relatively slow rise to full amplitude are deemed to have a greater degree of swell versus those instruments with a fast rise in amplitude.
Hybrid Instrument: As defined here, an instrument which, due to specific forming techniques, shapes, and materials, is suspended in ways similar to a gong while producing sounds similar to both cymbals and gongs, as well as new and novel sounds. Such an instrument can be embodied in a variety of shapes, not limited to shapes resembling gongs. The defining factors are that such instruments are suitable to be struck by drumsticks, are suspended from flexible members such as cord, chain or cable at points other than the center node of a disc or dome shape as in cymbals and that these instruments are capable of complex mid and or high frequency overtone structure similar to cymbals as well as low pitch swell as found in gongs.
Attack: The sound heard immediate after the striking of a percussion instrument. The attack is also defined as amount of time it takes for the sound of a percussion instrument to reach full volume or amplitude after a single strike. For example, an instrument with a large amount of swell (such as a large gong or cymbal struck with a soft mallet) would have a slow attack, while an instrument such as a bell struck with a metal clapper or a triangle would have a fast attack.
Hum note: In percussion instruments, such as large bells, cymbals, and gongs, as well as hybrid instruments, there exists a low frequency sound which is, depending on the instrument, loud or soft in amplitude. In cymbals this note is much lower in frequency than the accompanying overtones, and is ideally much lower in amplitude. Some cymbal makers seek to reduce the amplitude of the hum note as it can interfere with the low frequency spectrum of music. String, wind and other non-percussive instruments, feature a low note called a fundamental tone which is the basis for a series of overtones, which are in frequency based on precise integer multiples of this fundamental, and are thus regarded as being “in tune.” The hum notes and the overtones of cymbals, gongs and hybrid instruments are not integer based, or tuned to a specific pitch and are thus “not in tune.”
Differences Between Gong and Cymbal Sounds:
Prior gong designs share several features in common:
1. Gongs are suspended in an area near the outer edge from a flexible member such as rope, cord, gut, or cable.
2. Gongs, even when played with a drumstick, don't sound like cymbals. A drummer or percussionist would almost never mistake the sound of a gong for that of a cymbal. While part of the sound can be described and quantified (gongs have more pronounced low frequencies), the musician's ear proves to be the best measure of the difference.
3. Gongs often have a center area which is thinner in cross section or “gauge” than outer edge. Gongs also often have a distinct bent flange with encircles the entire outer edge. This flange tends to stiffen the outer area of the gong. This contributes to the gongs distinct sound. This flange is not present in all gongs but when it is omitted, other factors such as the distinct “bow” or curve and the thinned center render the instrument recognizable in sound as a gong.
4. The hum note in gongs is more pronounced than in cymbals. The hum note is an integral part of the gong sound.
5. Gongs primarily emit vibrations in the low to mid frequency range. Gongs emit only weak high frequency vibrations.
6. Gongs in general are not played with drumsticks, as the resulting sound would be generally unacceptable to percussionists and drummers.
Prior cymbal designs share two things in common:
1. Cymbals all feature a node in the center of the instrument. This area of little or no vibration has been the only acceptable area for mounting on a stand or suspending from a cord or strap.
2. Cymbals produce vibrations mostly in the mid to high frequency range. While a low frequency spectrum or note (known as a hum note) is produced, this sound is often found to interfere with the tuned instruments that it accompanies. Cymbal makers have attempted to reduce the amplitude of this hum note to acceptable levels, but it has often remained quite audible in intimate settings.
While these descriptions are informative, the musician's ear is the most valuable tool in discerning the difference between instrumental sound.